MLRy 100.3, 2??5 849 poem from the effortto set independence on a constructive course. It would also rob Heredia, in his admonitions against war, of his association with the strong humanist current that preceded and transcends what has come to be called modernity. That is why Ruben Dario, in his passion forpeace in the last years of his life,attacked promi? nent European vanguardists and invoked both medieval and Renaissance humanists in that cause. In his apparent need to leave untroubled the assertion that 'Niagara' is closely re? lated to 'En el teocalli de Cholula' Bush gives the formerpoem little scrutiny,choosing judiciously the 1825 rather than the 1832 version, but without elucidating some as? pects of the poem that might have demonstrated Heredia's relative modernity, such as his lesser regard for rhyme and classical allusions as compared to Bello and Olmeda. In regarding as phantasmagoric the evocation of palm trees, Bush undervalues the 'no' in '^Por que no miro | [. . .] | las palmas jay! Las palmas deliciosas [. . .]?', in lines that speak of nostalgia provoked by political exile, with a metonym substituting forthe Cuban nation before the deeply desired nationhood has been achieved, forthe 'Cuba, Cuba' ofthe 'Himnodel desterrado'. At the end of his book Bush examines Juan Maria Gutierrez's anthology of Spanish American poetry of 1846 and undertakes illuminating re-evaluations of some neglec? ted works included in that collection. Yet in his arguments Bush, like Paz, overlooks Paraguay, the firstofthe Spanish American republics and formany decades the most peaceful and prosperous of them, even though in salient topics that he treats?free trade, the constitution, the Church, mestizaje, indigenous culture, industrialization, poetry?that country offersa paradigmatic alternative to the failed policies employed elsewhere. The capacity of this important book to be a persuasive revision of the period is jeopardized by unconvincing new interpretations of certain poems, and poems are the crux of the matter. University of Toronto Keith Ellis Evil, Madness, and the Occult in Argentine Poetry. By Melanie Nicholson. Gainesville , FL: University Press of Florida. 2002. xxii + 201 pp. ?40.95. ISBN 08130 -2482-x. The work of three poets, Olga Orozco, Alejandra Pizarnik, and Jacobo Fijman, is studied in this volume. Adopting a distance from the 'current trend toward historical contextualization of literaryproduction' (p. xix), Melanie Nicholson relates the poets' inner journeys to a centuries-long esoteric tradition, which is charted in detail. The inward focus is also predicated on the questionable notion that Argentine sociopolitical reality marginalizes poets. The firstmain chapter, 'The Esoteric Tradition in Literature', plots a progression from Roman mystery cults, through Golden Age mystics and Neoplatonists, German Romantics, French symbolists and decadents, and finally to the surrealists, who, according to Nicholson, like the earlier poets, in their writings sought the sacred, although in human consciousness, not in nature. The three Argentine poets are seen to share this belief in the sacredness of the poetic word. Two chapters are devoted to Orozco: 'Gnostic and Hermetic Discourse in the Poetry of Olga Orozco' and 'The Occult as Revelation and Power of Passage in Orozco's Poetry'. Nicholson perceives the occult as the organizing principle in Orozco's poetry from the 1960s until En el reves del cielo (1987), which definitively recognizes failure, the dominance of gnostic pessimism over the more optimistic hermeticism . The second chapter correlates Orozco's work with alchemy (and makes 850 Reviews connections to other modern poets, and to Carl Jung). The discussion next moves to divination, particularly astrology, before concluding with magic, specifically with the poem 'Para destruir a la enemiga', parts of which resemble 'an actual rite of sorcery' (p. 59). The author, noting the feminine direction in Orozco's poetry from the mid1970s , speculates that the enemiga could be the third party of a love triangle; and yet, in an argument which, firstand foremost, is based on the systematic interpretation of keywords, the traditional poetic correspondence enemigajloved one is ignored. This is more a portrait of a self-sufficienttechnician than of a poet, and does not reflectthe strong human-connectedness which Orozco articulates in her prologue to Antologia poetica (1985). Jill Kuhnheim, well known to the author, and who suggested that a gnostic reading of Orozco...